DEEP DIVE: Was King Ghidorah's Gold Color Inspired by an Animated Soviet Film?

Keiko Suzuki in January 2019. Photo by Brett Homenick.

Earlier this year, I was interviewed for a documentary (Keizo Murase: The Last Monster Maker) on the life and career of the legendary suitmaker Keizo Murase. While looking over some old notes in preparation for the interview, I found that I had uncovered some fascinating information several years before and never even realized it. Let's start with the source of this information: Keiko Suzuki.

Keiko Suzuki worked under Eiji Tsuburaya as his script supervisor from the late 1950s through most of the '60s. Born Keiko Hisamatsu, she would go on to marry future Tsuburaya Productions producer Kiyoshi Suzuki. Ms. Suzuki joined Tsuburaya's tokusatsu team on The Three Treasures (1959), which she remembered as the longest SFX shoot at Toho, spanning four months. She passed away on May 23, 2024.

Keiko Suzuki with Teruyoshi Nakano (left) and Takashi Naganuma in January 2019. Photo by Brett Homenick.

On January 13, 2019, I spoke with Keiko Suzuki about several topics, one of which was her recollections of the creation of King Ghidorah. I knew that she and Mr. Murase had completely different memories of King Ghidorah's original color, so I wanted to get her take. Even though it wasn't a formal interview, I took contemporaneous notes on the discussion, which serve as the basis of the material below.

When Eiji Tsuburaya showed her the King Ghidorah suit painted blue for Ghidrah the Three-Headed Monster (1964), Ms. Suzuki was surprised to see it designed that way. The kaiju was supposed to be a space monster, yet it had been colored blue, which she didn't think was the right presentation.

Kin is the English word "gold" in Japanese. Ms. Suzuki pointed out that King Ghidorah was from Venus (Kinsei in Japanese) and that the Japanese word kin is even right there in its name, King Ghidorah. According to Ms. Suzuki, blue had already been used for the Yamata no Orochi in The Three Treasures (1959), so a new look was in order.

King Ghidorah heads on display in April 2019. Photo by Brett Homenick.

When Ms. Suzuki suggested to Tsuburaya that it should be gold, Tsuburaya apparently stopped what he was doing and left. Shortly thereafter, the suit was painted gold.  

Additionally, Ms. Suzuki revealed that she had been partially inspired by a Russian film she had seen with a golden bird and had the idea in mind to use that color for something eventually. While she didn't remember the name of the film, she remembered that the plot was based on Leo Tolstoy's short story "Ivan the Fool."

The movie that most closely matches Ms. Suzuki's description is The Hunchback Horse (1947), an animated Soviet movie that features a brightly-colored firebird. 

The firebird from the Soviet film The Hunchback Horse (1947).

Why did this tidbit fly right over my head? I'd read for years about how partial inspiration for King Ghidorah came from a 1956 Soviet flick that featured a three-headed dragon, so, without checking it out, I figured that must have been what she was talking about. (I mean, how many Russian movies could have influenced a Japanese monster?!) I'm glad I finally did my homework and ferreted this one out. Better late than never, as they say.

Of course, much of this depends on whose memories are more accurate. Both Keizo Murase and Keiko Suzuki have since passed away, and it's not very likely we'll ever get a definitive answer. Ms. Suzuki's memories are detailed and consistent, but Mr. Murase was probably in a better position than anyone else to know what King Ghidorah's original color was. I can't side with anyone in this dispute; all I can do is share what they have said.

Ultraman: Towards the Storage Unit!

Ultraman sez, "Keep it!" Photo by Brett Homenick.

 

While out and about today, I spied not one but two storage units (owned and operated by the same company, of course) that prominently use Ultraman to advertise their services. It was certainly unexpected -- maybe they'll bring in Ultraman to host Storage Wars!

Kaiju Eiga Secrets Revealed in New Q&A on Vantage Point Interviews!

Yoshio Suzuki in March 2024. Photo by Brett Homenick.

A new vintage account is now available on Vantage Point Interviews -- this time with Yoshio Suzuki, one of the five original suitmakers for the original Godzilla (1954). For the first time in English, Mr. Suzuki recounts his career at both Toho and Tsuburaya Productions, covering everything from the first two Godzilla movies to the enigmatic North Korean kaiju epic Pulgasari (1985).

It's all here in this brand-new Q&A from Vantage Point Interviews!

Sadao Iizuka, the Animator of Godzilla's Ray, Passes Away at 88

Sadao Iizuka in May 2019. Photo by Brett Homenick.

 

The Anime Tokusatsu Archive Centre (ATAC) has announced today that legendary tokusatsu animator Sadao Iizuka, who animated the beams of Godzilla, King Ghidorah, and Ultraman during the 1960s, passed away on March 24 at 9:10 a.m. due to aspiration pneumonia after being hospitalized in January. He was 88. The news was confirmed by Mr. Iizuka's friend and manager Tabata Kei.

Mr. Iizuka was born on December 26, 1934, and went on to join Toho as a part-time employee in 1954 and worked on Godzilla (1954) in the tokusatsu art department. He would also work on the productions of Godzilla Raids Again (1955), Half Human (1955), and Rodan (1956) in similar capacities until being recruited by Eiji Tsuburaya to work on optical effects for The Mysterians (1957).

Sadao Iizuka in February 2018. Photo by Brett Homenick.

Mr. Iizuka would work tirelessly throughout the 1960s on a variety of effects, including the stop-motion animation used in King Kong vs. Godzilla (1962) and the animation used to depict the fiery birth of King Ghidorah in Ghidrah the Three-Headed Monster (1964). 

Sadao Iizuka in December 2021. Photo by Brett Homenick.

Mr. Iizuka's beam effects for Godzilla, King Ghidorah, and Ultraman would help define Showa-era tokusatsu, but by the end of the '60s he would go leave Toho and eventually start his own company, Den Film Effect. (Mr. Iizuka's longtime nickname was Den-san.)

Sadao Iizuka with Toho SFX director Teruyoshi Nakano in March 2016. Photo by Brett Homenick.

I was privileged to interview Mr. Iizuka twice about his career in his home. It was only intended to be one session, but Mr. Iizuka had so much to say that we scheduled a second session for a couple of weeks later. Those interviews can be found here and here.

Sadao Iizuka draws Godzilla's beam in December 2021. Photo by Brett Homenick.

Mr. Iizuka was certainly outspoken about his true feelings and opinions, rarely holding back when you asked him what he thought about something. That quality made him one of the more endearing guests you would meet at such events.

Sadao Iizuka in between Tsuburaya Productions director Toshihiro Iijima (left) and kaiju suitmaker Keizo Murase in March 2016. Photo by Brett Homenick.

I first met him in August 2015, and he became one of my favorite folks to meet at events. Even then, he was one of the last remaining individuals who had worked on the original Godzilla and had many memories of working with Eiji Tsuburaya.

Sadao Iizuka poses with Toho SFX director Eiichi Asada in December 2022. Photo by Brett Homenick.

Pre-COVID, he always seemed in great health, especially for his age, and that seemed to be the case when I interviewed him in December 2020 and January 2021. However, when I met him again at an event on December 26, 2021, he seemed noticeably more frail. He seemed the same the last time I would ever see him, Christmas Day 2022. He was scheduled to attend another event in January, which was canceled due to his poor health. 

With Sadao Iizuka in December 2022.

Rest in peace, Iizuka-san.

UPDATE: I'd also like to mention that I was proud that this photo I took was used on Mr. Iizuka's official website for years.

It was truly an honor.

Nobuyuki Yasumaru, Legendary Godzilla Suitmaker, Passes Away at Age 87

Nobuyuki Yasumaru in December 2018. Photo by Brett Homenick.

Nobuyuki Yasumaru, the Toho suitmaker who created the Gorosaurus suit for King Kong Escapes (1967) and Godzilla for Godzilla 1985 (1984), passed away on March 1. He was 87.

Teruyoshi Nakano with Nobuyuki Yasumaru in December 2018. Photo by Brett Homenick.

Yasumaru-san was born on January 24, 1935, in Toyama Prefecture. He joined Toho in the early 1960s, working on the tokusatsu side of such productions as Mothra (1961), King Kong vs. Godzilla (1962), and The War of the Gargantuas (1966). Yasumaru-san became a suitmaker in 1967. You can read much more about Yasumaru-san's career in this 2018 interview.

Nobuyuki Yasumaru in November 2016. Photo by Brett Homenick.

I was fortunate to have met Yasumaru-san several times over the years. The first time was in November 2016 at a book launch party for Toho SFX crew member Takashi Naganuma. I actually had a previous engagement that day, but, as soon as I heard that Yasumaru-san would be attending, I cancelled those plans so that I could join the party.

In December 2018, I was lucky enough to interview Yasumaru-san at a cafe near his home in Sagamihara, Kanagawa Prefecture. He gave me a small-press book written about his life and career. After that, we exchanged New Year's cards, including this year.

I interviewed Yasumaru-san a second time last September, in which we revisited some topics (like Godzilla vs. Megalon) while covering new ground (The Last Days of Planet Earth). He had so much to say that I was even considering a third interview. Our last meeting in September was a lot of fun. He seemed as healthy as I'd ever seen him, and he was in great spirits. I'm very sorry to hear that he's passed. I will always cherish the memories I have.

RIP, Yasumaru-san.

Yasuyuki Inoue's 100th Anniversary at the Museum of Contemporary Art!

Poster art for the Yasuyuki Inoue gallery at the Museum of Contemporary Art, Tokyo. Photo by Brett Homenick.

On Saturday, March 26, I took in the Yasuyuki Inoue gallery at the Museum of Contemporary Art, Tokyo. Mr. Inoue was Toho's legendary tokusatsu production designer of the Showa era, and numerous blueprints, sketches, designs, scripts, and other items from his collection were on display. There was a lot of material -- almost too much to digest fully. It truly was amazing just how much of his work dating back to the 1950s and '60s survived. 

I picked up a few things at the gift shop at the end. All in all, it was a fun way to spend an afternoon. I just wish we were allowed to take more pictures of the exhibit itself. But here's what I was able to photograph. Enjoy!

Wishing a Toho SFX Legend a Happy Birthday!

Sadao Iizuka. Photo by Brett Homenick.

December 26 marked Sadao Iizuka's 87th birthday, so I was quite privileged to be invited to attend a small gathering of Iizuka-san's friends and fans on the day. 

Iizuka-san is an SFX animator who created the beams for Godzilla, King Ghidorah, and Ultraman in the 1960s. Follow the link to read the first of two lengthy interviews I conducted with him about his life and career. It will tell you a lot more about him than I could in this space!

Shigemitsu Taguchi. Photo by Brett Homenick.

Also on hand was Shigemitsu Taguchi. Taguchi-san is a television writer whose credits cover most of what made '70s TV as cool as it was. He wrote episodes of Return of Ultraman (1971-72), Mirrorman (1971-72), Ultraman Ace (1972-73), Jumborg Ace (1973), Ultraman Taro (1973-74), Ultraman Leo (1974-75), and many others. He attended because he wanted to meet Iizuka-san!

It was a great evening with two legends. It's just a shame that the temperature suddenly dropped that day! It sure made it hard on Iizuka-san, who took a couple of smoke breaks outside during the event.

Suffice it to say, Iizuka-san's 87th birthday party was a smashing success!

New Content on Vantage Point Interviews!

With Sadao Iizuka in December 2020.

The first of two interviews with legendary Toho optical effects wizard Sadao Iizuka has just been published on Vantage Point Interviews. Mr. Iizuka animated Godzilla's atomic ray and King Ghidorah's gravity beams in the 1960s, but he got his start in the tokusatsu art department with Godzilla (1954), which is where he would work through the production of Rodan (1956). This interview covers his early life and early years at Toho, prior to his career in optical effects. 

Check out the interview now on Vantage Point Interviews -- where content is king!

Attending a Screening of 'Princess Kaguya' (1935)!

Today, I visited a great exhibit called Eiji Tsuburaya: On the 120th Anniversary of His Birth, which runs until November 23 at the National Film Archive of Japan. The exhibit boasts a number of fascinating items, including Tsuburaya's shooting script for Godzilla vs. the Thing (1964), Takashi Shimura's photo album from Godzilla (1954), the machine used to create the Toho logo in the 1980s, as well as an assortment of posters and miscellaneous items owned by Tsuburaya.

After viewing the exhibit, I was able to catch an afternoon screening of Princess Kaguya (1935), a 33-minute digest version of the J. O. Studios film once thought to be lost, which contains English-language opening credits, as well as a crawl explaining the story. (The print was found in the UK a few years ago.) Despite that, there are no English subtitles.

Why was this movie being shown? Eiji Tsuburaya served as cinematographer of the movie. According to the materials provided by the National Film Archive of Japan, the original title was "The Marriage of Princess Kaguya," and it was promoted as a "cine operetta with Japanese music." That makes sense, as the movie essentially plays like a musical.

This version of the story is also less of a fantasy than other tellings (especially the 1987 Toho film Princess from the Moon) and is more comedic. The ending of the film in which the main characters get away from the bad guys right under their noses got a big laugh from the audience. Aside from the opening scenes in which the titular princess is found inside a shining bamboo, there is not much tokusatsu.

The materials also highlighted Tsuburaya's revolutionary use of a crane in his cinematography, and that was quite evident in the film. I'd say the movie's cinematography is quite innovative for 1935, though it wouldn't likely turn many heads today. 

All in all, the film was quite enjoyable, and it certainly seemed more ambitious than a lot of other films made at the time (and even years later) with static camera work. That being said, I'm not sure that folks should feel the need to book a plane ticket to fly halfway across the world to see it. For those primarily interested in tokusatsu, the highlights are easily available on the Internet.

They say that Eiji Tsuburaya is the Master of Tokusatsu, and this exhibit certainly highlights that fact. What an incredible way to celebrate his 120th anniversary!

Godzilla Speaks on Vantage Point Interviews!

With Haruo Nakajima in March 2015.

I'm very pleased to share that my 2008 interview with the original Godzilla suit actor, Haruo Nakajima, has been updated on Vantage Point Interviews with a new translation, which contains more details than the previous version. It also includes Mr. Nakajima's responses to audience questions, which was not included in the earlier version at all.

Content truly is king on Vantage Point Interviews!

Challenge from the Year 2020!

Bin Furuya. Photo by Brett Homenick.

"Challenge from the Year 2020" is the title of episode 19 of Ultra Q (1966), and it featured Bin Furuya in probably his most iconic suit-acting role (aside from the original Ultraman, of course). In this episode, Furuya-san played the alien creature Kemur, who is easily one of the most recognizable monsters from the entire series.

So it's quite apropos that as 2020 begins, there would be a special event with Furuya-san himself. The event was held in the evening of Sunday, January 12. Not only was Furuya-san on hand as a guest, but cinematographer Masao Nakabori joined the event, as well. Together, they mostly discussed the history of the original Ultraman (1966-67) TV series.

Masao Nakabori. Photo by Brett Homenick.

Nakabori-san even brought along a rare treasure -- the viewfinder of a movie camera from around the 1930s. Attendees got to hold and examine the viewfinder up close. It was a quite a treat to see firsthand how cinematographers of the 1930s shot movies!

The event was a lot of fun. Furuya-san thanked me for sending him a New Year's card and gave me his updated business card. Nakabori-san is always great to talk to, especially about the history of filmmaking in Japan. I hope to have a chance to see them both again very soon.

Celebrating the End of the Year!

Sadao Iizuka. Photo by Brett Homenick.

On Saturday night, December 22, I attended a special birthday celebration for former Toho optical effects master Sadao Iizuka.

Iizuka-san is a gentleman I've blogged about before, but his history with Toho makes him a true VIP in the world of tokusatsu.

Keiko Suzuki. Photo by Brett Homenick.

Also on hand was former Toho SFX script supervisor Keiko Suzuki (born Keiko Hisamatsu). Her career at Toho dates back to the late '50s (!), and it came to a close about 10 years later. It's always nice to see Suzuki-san at these events.

But wait ... I saw Iizuka-san again today for an end-of-the-year party! It's a rare treat to see such a legend in person on back-to-back days, but when you get an opportunity, take it!

See you all next year!